The cosmetic industry involves not only the marketing of its products but also has considerable interest in the teaching and practice of make-up techniques and application as a important skill to be obtained for future and present practitioners.
The marketing of cosmetic products by the cosmetic industry is effected through various channels. Traditionally, considerable attention is directed to massive advertising via television, the press, bill board advertising, publicly distributed descriptive brochures, point of sale displays and at beauty trade shows, more recently, in the presentation of point of sale demonstrations, home visits, trade show advertising and demonstrations, and other numerous marketing techniques, including technique demonstrations in motion through the electronic computer communications medium of the Internet.
Thus there is a considerable need for cosmetitians to function in the application of cosmetics to individuals in the entertainment industry, including the television, motion picture and theatrical enterprises as well as the fashion industry. Another significant area of cosmetic use requiring unusually skilled practitioners involves the application of make-up on actresses, actors, fashion models both male and female and those individuals encompassing different racial characteristics, particularly differences in skin tone, in facial shape and features, the moods and appearance capable of being can be changed and/or adjusted to fit particular different situations by the selective application of make-up. The various characteristics which are required for producing various and different effects varying significantly both in individuals and in relation to the visual effects to be desired.
In respect of the point of sale demonstrations, home visits, trade show attendance and advertising, the home-party sales demonstrations employed for the sale of cosmetic products, individuals are employed to conduct such demonstrations and sales efforts. These individuals must be trained in the techniques involved in the application of cosmetics. Training in such techniques has been performed by the various commercial organizations within the industry and often involve the use of living models both for the training sessions as well as the empirical practice sessions that are required to assure proper preparation necessary to enable successful demonstration of the cosmetic products. The experience of such trainees must include must include the application of cosmetic application technique and experience with at least plural individuals of different ethnic and/or racial origins with differing skin-tone and color. Therefore, where living models are employed, many are required to fulfill the varied ethnic and racial originated persons likely to be met in the course of performing the demonstrations of cosmetic products to the public. Each ethnic and/or racial group requires techniques specific to that ethnic and/or racial group members facial structure, configuration and skin character. Accordingly, a considerable number of individual living models encompassing all the frequently encountered persons would be required for each member producer of the industry engaged in such type of marketing practices conventionally utilized.
Not only are there few available living models meeting each of the conventionally encountered ethnic and/or racial groups sufficient to meet the need of the industry, the costs to each member of the industry engaged in such marketing efforts would be prohibitive. In addition, particularly for those individuals engaging in the tradeshow demonstration activities, the home visits and the home-party types of marketing, the art has been required to provide portable substitutions for the living model, substitutions such as make-up mannequins which can be portable, capable of being carried to the locations at which the demonstrations are to be carried out in situ, packed up and taken by the demonstrator to the site of another subsequent demonstration.
Now, the art has made available make-up mannequin heads for use in demonstrating the application of cosmetics. However, the available make-up mannequin heads where provided, are specific in color and/of skin-tone representing only one of the plural ethnic or racial individuals. Accordingly, the demonstrator must carry plural ethnically and/or racially specific make-up mannequin heads for each demonstration. This is difficult, unwieldly and represents an undue burden for the demonstrator.
Not only are there difficulties raised for the home sales demonstrator by the presently available make-up mannequin heads, but equally, difficulties are experienced by the industry in providing adequate training and experience as well as practice additionally required by trainees following the instructional and training sessions by the lack of adequate supply of living models and/or make-up mannequin heads for each of the aforementioned trainees, due to cost and/or unavailability. Yet it is nevertheless important that there be sufficient training, experience and practice in the application and technique of transferring cosmetic and make-up skills learned by the trainee to be applied to individuals having various different skin-tone and color as well as applied to individuals having the different color-tone, color and individuals having ones of the different and varied classic facial shapes as will be described hereinafter.
Another significant factor to be considered in the training of cosmeticians is the substantial number of individuals desiring entry into the cosmetology service and retail field involving beauty culture. Schools specializing in the teaching and training of cosmeticians for the retail trade comprise a large portion of the cosmetic industry. Many accredited cosmetology or trade schools are governed by governmental, usually state, professional regulations prohibiting student practice on living persons or models during training unless they are finishing all the instructional courses and reaching the completion of the course of study. Then practical training which is paramount if a part of the following graduation process, i.e. graduate study and internship. Therefore, a make-up mannequin should be provided which is closest to being humam-like, and would provide a tool for training and practical practice for gaining knowledge and experience on various ethnic and/or racial color and skin-tone persons.
Conventionally, two-dimensional drawings, photographs as well as written descriptions have supplied the principal guidelines for the both the industrial demonstrator and the other student trainees in learning specific make-up techniques on individuals having various skin- tone, color and ones of the classic facial shapes, including variations thereof. Instruction is only one of the prime factors in the teaching of such make-up techniques. Practice and a lot of repeated practice is the other of said prime factors, and is essential, whether the trainee is a novice, a beautician, a cosmologist, a company demonstrator or simply a person having strong interest in receiving professional training in the field. Those persons who commercially demonstrate cosmetic application on actual human subjects often reach a certain level of make-up training experience from their respective commercial enterprises or as a result of personal experience or by way of their company's training procedures but truly benefit from experiencing professional courses of study from experts in the field via attendance at teaching institutions specializing in the field.
At the beginning stages of instruction, the training tools involve the aforementioned 2-dimensional pre-drawn diagrams of a human female head, various cosmetics and various pencils and brushes employed in the application of such cosmetics. At the intermediate and later stages of the training, living human models are employed to provide realistic practical cosmetic applications. Generally, it has been found that it is difficult to demonstrate the differences in applying cosmetic make-up to living models of different ethnic and/or racial origin unless there are among the living human models, models of the different ethnic and/or racial origin.
Unless the subject model has the skin-tone and/or color of the particular ethnic and/or racial origin, one cannot realisticaly demonstrate the correct application of cosmetic thereto or thereon for teaching the application of cosmetics to those who differ in color and/or skin-tone. Persons having darker skin-tone use different color of foundation, eye, eyelash, eyebrow, touch-up, shading, shadow and like cosmetic compositions that lighter skin-toned persons or persons of oriental, asiatic or other ethnic and/or racial origin. Thus, trainees would have limited realistic tools for receiving instruction and for practice in a great many of the instructional institutions presently available for gaining instruction in cosmetic make-up application on various different skin-tone persons, not only involving the skin-tone factor but also on a human facial configuration with realistic features.
While ordinary mannequin heads of the type employed to teach hair-styling or fashion mannequins have been utilized in the training of cosmetic artists, beginning and somewhat experienced students, as well as commercial demonstrators, difficulties nevertheless arise due to the surface textures of these conventionally available mannequin heads as well as the necessity to make available to each trainee, individual mannequins and mannequin heads having each of the different skin-tones as well as mannequins having realistic textured surfaces reflecting the differences between actual human subjects of different ethnic and/or racial origins.
The conventional mannequin heads are provided with a smooth but relatively hard facial surface, white or normally Caucasian in color and brown or normally african origin in color. Some more recently available mannequin heads produced especially for use as make-up mannequin heads have been formed from soft plastic material such as urthane, polyvinyl chloride and similar plastics which are characteristically porous. The porosity is fine, ordinarily invisible to the naked eye and is such as to require a foundation or cleanser creme to be applied to the selected area thereon where make-up is to be applied so as to cover the invisible porosity of the application area, sealing the application area inorder to prevent the penetration of the make-up cosmetic and the resulting entrapment thereof within the porous surface. With such a pre-coat of foundation or cleanser creme, the make-up should be able to be removed completely after every use, leaving a fully cleaned working surface. However most conventional make-up mannequin heads are not provided with such surfaces. Accordingly, conventional make-up mannequin surfaces resist full removal of residual make-up compositions, thus making unlimited use, say in application and repeated practice for training purposes, is not provided. The useful life of the make-up mannequin head is limited. Failure to fully remove the residual make-up environment problems in the long run after completion of their useful life and disposal of such effectively fully used exhausted mannequin heads.
Thus, there is a problem relative to the skin surface as well as a problem of providing mannequins having realistic skin surfaces suited for repeated usage yet having skin surfaces from which practice make-up cosmetics can be easily removed without leaving a retained trace or residue, preventing not only unlimited use of the mannequin and failing to reduce reducing the environmental problems of disposal, but limiting the useful life of such mannequin for providing practice for the earnest trainee.
It would be considerably advantageous to provide a solitary make-up mannequin head with a skin surface that is receptive to plural and repeated application of cosmetic make-up without retaining even surface traces which build-up, reducing the useful life of the mannequin head for the purposes desired and the environmental problem
Even if make-up mannequins can be provided with other than the commonly provided Caucasian or standard skin-tone, as mentioned earlier, a plurality of such different skin-tone make-up mannequins are required. Even then, practice heretofore was still required to be performed on live subjects in order to achieve a direct realistic result on prospective clients for their cosmetic products. The graduate trainee generally had been required to use living human models, each having the different colors and skin-tone to demonstrate the differences in make-up applications on persons of different ethnic or racial origin since dark skin-toned persons use different colors of foundation, shadows, etc. than the lighter skin-toned Caucasian, the oriental, the asiatic or the hispanic persons. Further, given the necessity of using different skin-tone human models, the availability of such persons to many trainees is limited even when some are available to few of the trainees. Moreover, fulfiling the required need necessitates substantial expense to keep them available for each trainee for a period of time sufficient for continuous make-up training sessions place to place and for use by the many trainees requiring such contact. The selection of correct skin-tone living models to be representative of the many different ethnic and color-toned persons representing the scope of the likely to be contacted different persons is even more difficult. The range of different skin-tones, facial shapes as well as skin conditions is great so that there are not sufficient numbers of live models with the various skin-tones and the various facial shapes demonstrate and to afford trainee practice thereupon. This is particularly true in the case of beauty schools, trade schools and similar institutions where the numbers of trainees is substantial yet funds are limited preventing a "one-student/one set" instructional program and experience. This is even more of a problem for accredited cosmetology schools and trade schools under the mandates of state professional regulations limiting the use of living models.
The instructional or training arts have long sought means enabling instruction and training individuals in the cosmetic arts, that is, the artistry of ameliorating facial problems by skilled judicious use of cosmetics such as color cosmetic compositions, eye shadow, eyeliner, eyebrow pencil, mascara for eyelashes, lip color, foundation compositions and the like and other make-up products. These arts can be described as the so-called "magical" art of make-up. Such "magical" art involve techniques enabling the creation of different facial shapes from other facial shapes using only colors and shadows provided by the above mentioned cosmetic compositions. Classic facial shapes such as round, oblong, pear-shaped, triangular, inverted triangular, diamond and heart-shaped configurations can be converted one from the other. Moods, differing emotions, various character traits, enhancement of such emotions, moods and reflections of different character traits can be accomplished via the judicious skilled use of relatively simple cosmetic compositions and tools to effect somewhat "magical" transformations. Commonly the so-called "magical" arts are employed in the entertainment fields such as motion pictures, theatrical, operatic, television as well as the advertising and photographic arts, even in the political field. Artistic use of the aforementioned cosmetic products to create the so-called "new image" requires a trained cosmetology practitioner. Such so-called "magical" arts techniques can be and are taught but are learned only by experience and practice.
The cosmetology art has long sought to provide means whereby the teaching of the artistic art of make-up can be facilitated with emphasis on the creative artistic cosmetology technique. Applicant believes that a make-up mannequin can be formed in the configuration of a long-sought "perfect head", one whose facial shape, features, conformations can be transformed by selective artistic employment of various cosmetic compositions and techniques of application thereof. Teaching of these techniques require substantial and repeated practice. The few available living models do little to alleviate the problems of teaching and training individuals in the art of cosmetic transformation technique. The schools specializing in cosmetology even those where not barred by professional regulations, could not afford to use "living models", primarily because of the varients of shape and facial features differ from one to others. The high costs involved in utilization of "living models" is an equally deterrent factor to the employment of such "living models" since the number required would be substantial inorder to meet both the teaching and the practice requirements for quantity of trainees requiring their services.
As mentioned, there are at least eight different distinctive shapes of faces and many more differences between various facial features possessed among individuals having each of said facial shapes. A single living individual model would not provide the teacher and/or trainee with sufficient experience and practice to accommodate instruction and/or practice required for the trainee to learn how to deal with the wide variety of existing individual facial traits.
Make-up mannequin heads presently available in the field do not provide the opportunity for the teacher as well as the trainee to demonstrate and provide for the desired degree of practice of such demonstrable artistry techniques, i.e. transformation and/or convertability techniques. While long sought, provision of a make-up mannequin head having a "perfect shaped head" has not been achieved perhaps because the art yet to define and as well to recognize exactly what would constitute the "perfect head" and how the "perfect head" should appear. Long sought, for example, has been means whereby trainees can be taught techniques exemplifying the "magic" of cosmetics to deal with the application of cosmetics to ameliorate problems possessed by the different shapes and appearance of individuals . . . to modify the actual facial appearance of an individual to result in different desired appearance characteristics.
It is most desirable that the art provide means to encourage the cosmologist's learned skill to be directed to creative efforts to utilize the artistic techniques for application of cosmetics to produce various different facial impressions encompassing changing the visual appearance of the facial configuration of individuals by judicious application of relatively simple cosmetics, such as, for example, shadowing, eyebrow pencil, eye shadow, eye mascara, eye liner and lip color. The mastery of the techniques of cosmetic artistry can convert a round facial type appearance having full cheeks and round chin to a facial type appearance having a broad forehead and chin. Even a heart shaped visage with a wide forehead and narrow chin can be transformed into the appearance of a narrow forehead and wide chin using cosmetic compositions and tools by following the techniques of the artistic make-up artist. The visual impression of an oblong facial configuration can be modified to one having a long and narrow visage by skilled application of shadow and color using only the above mentioned artistic cosmetology techniques upon other classic facial configurations.
With reference to the make-up mannequin and its companion masks, the trainee or student can be taught and can practice the technique of modifying the appearance of such facial problems as deep-set eyes, low forehead, long face, short nose, dark circles under the eyes, under defined cheek areas and receding chin can be improved by use of light foundation, eye disguise and highlighter. Problems which are capable of amelioration can be ameliorated or concealed or literally changed to more pleasing configurations by use of dark foundation or eye disguise such as long nose, large nose, thin nose, hooked nose, crooked nose, pug nose, heavy-lidded eyes, large jaws, double-chin and long chin. Skilled application of eyeliner, eye shadow and eye brow pencil can define improved appearance or actually create the perhaps a more pleasing appearance of small eyes, wide-set eyes, deep-set eyes, close-set eyes and even basic bulging eyes respectively.
The techniques described above are known but the availability of means which can be utilized for training professionals as well as neophytes such as beginning students, commercial cosmetic demonstrators, etc. in the application of cosmetics to persons of varying skin tones and color has not been available at reasonable cost.
Applicant has discovered the definition of the so-called "perfect" or "ideal" facial shape, i.e. configuration is actually the oval facial configuration. Utilization of a make-up mannequin having an oval facial configuration has been found to be capable of use in the teaching and practice of converting such configuration into a desired one of the classic facial shapes using only artistic techniques of applying the above mentioned cosmetic compositions and tools.
Another factor to be considered in the training of make-up technique is the increasing popularity in recent years of permanent make-up or tattooing to provide desired features such as human eyebrows, eyelashes, lip configurations or "beauty spots" directly upon the human skin. Accordingly, it has become necessary to teach these techniques to cosmetology trainees, including professional make-up artists and others skilled in the cosmetic arts. It would be desirable to have the capability to teach such tattooing needle and ink application techniques to cosmetology trainees, professionals and others in the make-up field. Reference has been made above to the necessity of supplementing instruction and demonstration with considerable actual practice. Conventionally, the instruction in permanent make-up technique and the trainee's actual learning of those techniques results by practicing the those taught permanent make-up technique learned involved by tracing pre-drawn eyebrows, eyelashes, lip configurations, etc., on a piece of cowhide or a piece of paper using two-dimensional templates on the piece of cow-hide or paper. Nevertheless, such procedure fails to give the trainee realistic experience in the tattoo technique for permanent make-up applications on or for human facial features. The hand and wrist movements trainees are taught and gained from drawing upon 2-dimensional cowhide or paper cannot truly apply on real human features . . . facial configurations . . . for drawing realistic eyebrows, eyelashes or lip configurations. Such instruction and training which should include training and practice in the use of such tattooing applied to human clients, particularly for use upon clients of different color and/or skin-tone, could not be taught by practice upon human models or human clients since living persons cannot afford to undergo any mistakes made by the practitioner, especially if invoked by the non-skilled practitioner or make-up artist not experienced in the tattooing art. Once the permanent make-up is applied by tattooing, there is no way except painful tattoo removal which can be used to erase the mistake or mistakes.
Therefore, it is desirable, and, in fact, necessary to provide a "tool" in the form of a speciallized soft-skin make-up mannequin kit and assorted additional components to enable a trainee to utilize not only for cosmetic purposes but also for the learning and practice of permanent make-up technique by the professional and by the neophyte in the application of such permanent make-up. Such objects have not been available for the training and practice of application for training and practice of permanent make-up (or tattooing).
The nature of presently available make-up mannequins defining the facial portions thereon were difficult to clean and remove applied cosmetic materials therefrom after application thereof to assure use of such make-up mannequin head for repeated applications or for other trainees' use should the mannequin be shared. With a single make-up mannequin, the student is limited to a single skin-tone and, as well, must thoroughly clean the mannequin facial surfaces after each practice, such cleaning being difficult, time consuming and often, incomplete due to the surface provided on the make-up mannequin head. Generally, the skin surface which is suitable for repeated practice make-up applications to be performed thereupon has not been generally provided. For those instances involving the teaching, training and practice of permanent make-up techniques, the useful life expectancy of available make-up mannequins is shortened with each use due to the impossibility of removing tattoo patterns therefrom once they have been applied. It is likely that such make-up mannequin heads would necessarily be discarded and replaced after a substantially shortened period of use, resulting in environmental problems in the disposal of such large numbers of discarded fully used mannequin heads.
The state of the prior art may be indicated by reviewing the patents to Min, U.S. Pat. No. 5,320,535 (Jun. 14, 1994); Mooney, U.S. Pat. No. 4,886,079 (Dec. 12, 1989);, Mooney, U.S. Pat. No. 4,957,124 (Sep. 18, 1990); Narlo, U.S. Pat. No. 5,090,910 (Feb. 25, 1992) and Ito, U.S. Pat. No. 2,968,104 (Jan. 17, 1961).
The Min patent provides a make-up mannequin head for repeated use in make-up practice after use in lieu of a live model subject. The Min make-up mannequin head has at least one human-like face section having a plurality of lip sections and/or single lip formations and multiple eye and/or multiple eye/eye brow formations or single eye/eyebrow formations formed on the single formation. Min also provides a make-up mannequin head having a full facial formation on the front and on the back of the mannequin head, each carrying a facial formation having the aforementioned feature formations. In one example, the facial formations represent a female face and a male face. Each of these formations carry the grouped feature sections representing respectively different sections ones from the others. Another embodiment taught be Min provides a single facial reproduction on one side of the Min make-up mannequin head and a series of plural eye/eye-brow sections. The eye/eyebrow sections may be alike or each eye section respectively may be different from the others. Likewise, the Min make-up mannequin head may carry only various different lip sections on the entire circumference thereof.
It should be noted that the Min make-up mannequin head can have a soft outer surface formed of a resinous material. However, the soft outer surface of the Min make-up mannequin head has only a single skin-tone or color. Thus, to enable the make-up artist, trainee or professional to experience dealing with individuals of different color skin-tones respectively representative of Asian-American, African-American, Caucasian, Native-American and/or Hispanic persons, the cosmetic industry trainee groups or the educational facility must purchase make-up mannequin heads of each different color and/or color skin-tone. In instances where the educational facility does not purchase the make-up mannequin heads for use by the students, etc., the individual student, trainee, make-up artist or other professional must purchase a collection of the different colored or skin-toned make-up mannequin heads for gaining experience in dealing with the aforementioned different individuals. If the various cosmetic compositions, such as different foundation, skin-cleanser, skin creme, eye and eye brow make-up compositions, special cremes, eye and eye-brow make-up, lip colors, shadows and the like are not provided by the educational facility, the individual student, etc., must purchase these materials suitable use upon each of the different individuals representative of the different ethnic and/or racial groups whom they will experience in the course of their practice for creating make-up particularly suitable for each of these persons. The cost is prohibitive because the adequate course of study must provide the user experience sufficient to treat each of the personna groups having different facial characteristics, in particular, color and/or facial characteristics. It is important that Min does not means for employing a single make-up mannequin head to enable the student, etc., to learn and to practice the suitable cosmetic application techniques for dealing with the plural ethnic and/or racial types except by purchasing plural make-up mannequin heads, each of a different color and/or skin-tone.
Narlo provides a three-dimensional facial display model capable of being changed in form, quality or nature to display each of the classic facial shapes. The make-up mannequin taught by Narlo comprises a skull-form base formed of plastic, rubber, plaster or other material. The forward portion of the base is formed with a countoured support surface for temporarily mounting various shaped facial display components. These support surfaces provide underlying shaped support surfaces to receive selected ones of forehead components, cheek components, jaw-bone components, nose components, alternative eye components, mouth components, plural shaped eyebrows and plural shaped mouth components. Each of these components are formed by moulding a rubber polymer or plastic material which resembles the resilient texture of human skin. The various classic forms are replicated by selection of proper components and fitting selected ones onto the preformed selected underlying receiving areas of the base model.
Thus the single Narlo model can provide the means for constructing and installing each of the seven basic facial shapes one at a time upon the make-up mannequin head, thus enabling the cosmetician trainee, student or professional to develop make-up application experience by routine practice upon those classic facial shapes. However, the resulting various shaped model (or mannequin head) fails to provide means whereby the user can learn, experience and practice the conversion, only by skilled use of make-up, of one classic facial configuration into the selected one of the other classic facial configurations each of the seven basic facial shapes upon the model make-up mannequin head by use of cosmetic make-up techniques. The artistic technique of change-over is an invaluable skill to be obtained in an adequate course of make-up and cosmetology study. The multiplicably applied interchangable components or pieces forming completed ones of the various facial configurations one at a time do not serve to teach or to provide practice the artistry of cosmetic application resulting in conversion between classic facial shapes via sole use of cosmetics.
Narlo is not concerned with the teaching, training or practice relating to the use of cosmetics upon individuals of different ethnic and/or racial types and does not disclose or teach means whereby a single make-up mannequin head can be employed for enabling the cosmetitian trainee, student or professional to gain practical experience in dealing with the different racial and/or ethnic individuals having the different characteristic skin colors and/skin tone.
Mooney offers a cosmetic template formed to shape by heat and applied against the face of an individual in a heated condition in situ to assume the facial shape of that individual. A plurality of small circles are marked on the formed sheet to define the contour lines. The formed sheet is removed and holes are formed in each of the circled areas along the contour lines. An elastic band is secured to what then has become a mask. The thus formed mask is remounted to the individual's face and a cosmetic pencil is extended through the holes onto the face of the individual marking the lines onto the individual's face along the represented contour lines defined on the mask. Cosmetics then are applied in accordance with the pencil guidelines formed on the individual's face. Thus, Mooney'079 provides means for providing visible guidelines upon a client's face rather than providing means for instructing make-up trainees, make-up artists, cosmetologist or cosmetician professionals in the art of either of technique for make-up application or for artistic cosmetology. Mooney'124 is directed to a method of making the above mentioned mask and offers no teaching which would be expected to lead to solution of the various problems discussed above in the teaching and training of cosmetology specialists.
Ito does disclose a head model which extends to the upper breast as a unit and is formed of a molded, thin-walled shell formed of relatively soft plastic material, such as polyvinyl chloride, the shell being filled with a relatively soft foamed material such as granular foamed polyethylene. Ito asserts that the head model can be used in exercising make-up, beauty culture, facial massage and like training where the user can feel substantially the same touch as that of the living human face. However, the principal purpose of the Ito head model is for hair styling training. Hair being firmly and fixedly attached to the shell by passing the hairs through the shell wall at the top of the model head. The provision of providing the head model with a unique facial configuration which is instrumental as a teaching aid for make-up application either cosmetic or permanent is not taught by or obvious from the Ito teachings. The concept of combining the Ito head model with flexible soft-skin masks having the facial configuration identical to and duplicative of that of the head model. Recognition of the problem of teaching trainees and students cosmetic make-up application which takes into account the differences in the facial skin tones and color of different ethnic and racial individuals likely to be encountered in the practice of cosmetoloty is not present in the Ito disclosure. Absence of such recognition clearly indicates the failure to provide a solution to such educational problem.
The state of the art fails to provide any equivalent solution comprising the provision of the said masks, where each of the said masks are provided with the skin tone and color representative of the different ethnic and racial persons likely to be encountered by the trainee or student in practice and which are selectable for mounting on the hair model to provide a working surface is absent from the Ito disclosure.
Likewise, Ito does not provide any teachings to the art leading even to the conception or teachings which would lead on skilled in the art to the include the hair model with other training or teaching components that will be utilized by the trainee or student in a single kit so that the trainee or student will be able to have available the full complement of "tools" and compositions required in the training exercises in one portable package. The concept of providing a teaching, training and practice kit wherein the trainee or student has at hand the availability of all the implements and compositions in a portable kit, which kit can employed at school and enable practice at home.